The third voice from the top lowered an octave. The dropped voice becomes the bass, which is why a string is skipped.
EbmMaj7b5 is Eb, Gb, A and D — Ebm7b5 with the seventh raised a semitone.
It sounds brittle and impossible to mistake. Scarce enough that most players meet it as a passing sonority rather than as a chord they chose.
Rare tonic — a half-diminished chord with its seventh raised instead.

| Eb | Gb | A | D |
|---|---|---|---|
| 1 | ♭3 | ♭5 | 7 |
Also written EbmM7b5 or Ebm(maj7)b5. The same chord either way; which spelling you meet depends on who wrote the chart.
The same operation one voice further down: the third voice from the top falls an octave and becomes the bass.
That leaves a bigger hole under the top three notes, so a string gets skipped: the muted string in the middle is the shape, not a mistake.
EbmMaj7b5 has 9 of them, on strings 6-4-3-2 and strings 5-3-2-1, from open position up to the 13th — every inversion the chord has: Eb in the bass, Gb in the bass, Bbb in the bass and D in the bass. The one to learn first is the Gb shape at the nut.
5 of them sit on strings 6-4-3-2, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
Play EbmMaj7b5 as a shell — root, third and seventh — and the spare string takes the 11 (Ab) or the b13 (Cb).
All 6 common shapes as fret numbers, lowest string first. Hover or tap one to see it drawn.
Every note of EbmMaj7b5 is in Eb diminished.
Change one note of EbmMaj7b5 and you have Ebdim (drop the major seventh), Ebdim7 (the major seventh becomes the diminished seventh), Ebmaj7b5 (the minor third becomes the major third), Ebm7b5 (the major seventh becomes the flat seventh) or EbmMaj7 (the flat fifth becomes the fifth).
EbmMaj7b5 is a diminished chord — root, minor third, flat fifth. Diminished and half-diminished chords on every root.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.